Affordable splendour: editing, printing and marketing the Sarum Antiphoner (1519–20)

Abstract

The two‐volume Sarum Antiphoner, printed by Wolfgang Hopyl for Franz Birckman in 1519–20, was the most ambitious music‐publishing venture undertaken for the English market throughout the sixteenth century. Printed in red and black, and comprising nearly 1,100 folios, it provided music and texts for the divine Office. It was a logistical triumph, resulting from editorial expertise provided from members of King's College, Cambridge (one of whom died during its preparation). Although very few copies survive, its potential market was substantial, and its commercial viability is considered here (as well as its likely retail price). Most copies were presumably lost at the Reformation; the surviving copies, a high number of which were preserved in private households, all belong to the same edition of 1519–20.

Editorial endeavours: plainchant revision in early modern Italian printed graduals

“…In contrast to the situations elsewhere in Europe, graduals were rarely commissioned by prelates, but rather financed by the printers. 20 Instead of having an exemplar provided to use as a copytext, the publishers needed to source one themselves. In order to save time and money, firms commonly copied the layouts and even the contents of their previous editions as a time-saving measure.…”

Stability and variation in office chants of the Sarum Sanctorale

“…A prodigious work, enormous in size, the Antiphonal was a product of the specialist Paris liturgical workshop of the printer Wolfgang Hopyl. It was produced in two halves: the first, in 1519, ran in its Temporale from Advent to Pentecost, and from 30 November to 20 23 The 1519-20 Antiphonal was the only complete book of chants for the Sarum Office to be printed (there were various editions of the Hymnal). By way of comparison, there were numerous breviaries and missals, and even four editions of the Gradual.…”

“…' 35 Williamson suggests that antiphonals were only replaced when 'completely worn out, or in the case of some regional uses, liturgically obsolete [;… therefore] an early Tudor worshipper […] would probably have seen a heterogeneous collection of new and old Antiphoners, unitary volumes, and Sämmelbande [or composites]'. 36 The statutes for the foundation of Ottery St Mary (near Exeter) suggest that three singers should ideally sing from one volume; and Ottery was to be provided with three antiphonals, three psalters, and three graduals on each side of the choir-step. 37 In 1384, St George's Chapel, Windsor was reported to have eleven breviaries (nine noted); five antiphonals (three with psalter, and one separate psalter), and eight graduals, among other volumes.…”

Review of periodical literature published in 2012

“…The article gives information about the book trade itself, especially with regard to what was considered to be a contentious book. M. Williamson considers an early book, the Sarum Antiphoner .…”

“…Williamson considers it to be the most ambitious music‐publishing venture for the English market throughout the sixteenth century. Williamson states that the potential market was substantial and attempts to estimate the publication's commercial viability and price. Many copies were presumably lost during the Reformation.…”